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KEITH TIPPETT GROUP

Jazz Rock/Fusion • United Kingdom


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Keith Tippett Group biography
The first time progheads (and the rock world in general heard) the name of Keith Tippett and his unique piano was on the KING CRIMSON single of Cat Food in very early 1970, and it created a shock. Obviously most observers could see that the then-unknown (to most anyway) Keith Tippett was obviously an excellent pianist, but his style left many astounded, but also turning away many. But those intrigued enough, probably sought who this weird guy was. A Bristol-born cornet and pianist, who met in 67 in the BS Music School, Elton Dean, Nick Evans and Mark Charig, forming the Keith Tippett Sextet, that played to some success in London's 100 Jazz Club. . Keith Tippett would also be signalled that year on BLOSSOM TOES' two albums as well as being determinant in the SOFT MACHINE's change of musical direction towards jazz-rock, since the group became a septet, using three of Tippett's collaborators.

Indeed, the names of Mark Charig, Lyn Dobson, Harry Miller, Roy Babbington, Elton Dean and Nick Evans should be familiar to many progheads, yet most of them had their "rock world" start with Keith Tippett and his first group. When his first solo album came out, "You Are here... I Am There" on the Phillips label, it was yet another shock as their awesome jazz-rock was at least on par with MILES DAVIS, HERBIE HANCOCK or IAN CARR's NUCLEUS, and further ahead than was Soft Machine. Funnily enough the KTG inversed their Phillips trajectory to Gracious and XXXX by having their second album on the legendary Vertigo Swirl label, while the debut was on the generic label. Titled "Dedicated To You, But You Were Not Listening" (a Soft Machine tribute), the album was certainly not easier on the ears either.

A good part of Keith Tippett's group would find themselves playing the horns on Crimson's Lizard and even on Islands, despite the presence of Mel Collins, who was alone during the tours to fill the horn dept. This wouldn't be the only collab between Fripp and Tippett as the former also produced the only album of the latter's huge group concept of CENTIPEDE. "Septober Energy" is probably one of the most controversial albums ever, with the group consisting of up to 50 musicians including all of Blossom toes, part of Soft Machine and many jazz-rockers present on the British Isles, even including the amazing JULIE DRISCOLL, whom he would soon marry and her taking the name of her husband, but adding an "s": she'd become known as Julie Tippetts since.

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Dedicated to You But You Weren't ListeningDedicated to You But You Weren't Listening
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KEITH TIPPETT GROUP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.57 | 12 ratings
You Are Here... I Am There
1970
4.30 | 46 ratings
Dedicated to You, But You Weren't Listening
1971
2.87 | 4 ratings
Blue print
1972

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KEITH TIPPETT GROUP Reviews


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 Dedicated to You, But You Weren't Listening by TIPPETT GROUP, KEITH album cover Studio Album, 1971
4.30 | 46 ratings

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Dedicated to You, But You Weren't Listening
Keith Tippett Group Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars It's hard not to see this one as Keith Tippett's Canterbury album; not only does he draw heavily on Soft Machine members past, present and future (it'd be 2 years before Roy Babbington signed up with the Softs, and Robert Wyatt was just on the verge of leaving) to obtain the personnel for the band (as well as plenty of Nucleus members), the album itself is actually named after a Soft Machine composition. (What's more, Gridal Suite seems to be a nod to the Softs' own Neo-Caliban Grides.) It's a more traditionally jazzy take on the Canterbury sound, with a very able and well-judged fusion of the two musical approaches which puts the Soft Machine's own fourth and fifth albums (fairly transparent attempts to present a side of the band more acceptable to the jazz establishment) to shame.

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 You Are Here... I Am There by TIPPETT GROUP, KEITH album cover Studio Album, 1970
3.57 | 12 ratings

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You Are Here... I Am There
Keith Tippett Group Jazz Rock/Fusion

Review by RedNightmareKing

4 stars 4.5 stars, really.

To be honest, this album was my very first taste of the jazz fusion era. Not Miles Davis, not Mahavishnu Orchestra, but this gem. YAH...IAT is heavily overshadowed by Tippett's other work (King Crimson, Centipede, and his other album), and I could never understand why. Looking at the negative ratings, I can assume people expected another "Dedicated To You, But You Weren't Listening" or "Septober Energy". Let me tell you, it's definitely not. To me, this is the British response to Bitches Brew, albeit without the sidelong pieces.

This Evening Was Like Last Year (8.5/10) - Sort of an overture to this album. Quiet and deep strings, rapid-fire drumming, and lots of free jazz near the middle and end.

I Wish There Was A Nowhere (10/10) - A true jazz masterpiece, and the best song of the album. Lots of piano jamming and saxophone solos, with clear divisions. Also the longest song, clocking in at a grand 14 minutes.

Thank You For the Smile (8/10) - A kind of filler, if you ask me. But it's still valid in the album, and sets a different tone for the next side of the record. This track is actually a sadder reworking of the Beatles's famous track "Hey Jude", using the outro as a base.

Three Minutes from an Afternoon in July (6/10) - A single sax note. Seriously. This song does create the feeling of a hot July afternoon, but it kind of stops the flow of the album. The band kind of joins in at the very end, but is too late to save the track.

View From Battery Point (8/10) - Fanfare material. Quiet electric piano, kind of like looking out from Battery Point onto the landscape. Ominous, and really sort of preparation for the next track.

Violence (7.5/10) - A memorable opening melody, and contained throughout. Really does kind of represent a little fight, or as the title says... Violence. Not the best.

Stately Dance for Miss Primm (10/10) - A great closer! Truly grooving, with solos scattered throughout from the whole band. This is the first track I heard from this album, and I fell in love quickly.

This Evening Was Like Last Year [Short Version] (8/10) - The shortened version of the first track. Cuts the crap, but also removes some of the charm.

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 Dedicated to You, But You Weren't Listening by TIPPETT GROUP, KEITH album cover Studio Album, 1971
4.30 | 46 ratings

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Dedicated to You, But You Weren't Listening
Keith Tippett Group Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I must admit I was blown away by the lineup here.The rhythm section (Clyne & Jackson) from Keith's debut had left so he has some guests on here filling in. Bass players Babbington (NUCLEUS and SOFT MACHINE) and Whitehead (ISOTOPE) and drummers Wyatt (SOFT MACHINE), Howard (SOFT MACHINE) and Spring (NUCLEUS). On guitar Boyle (ISOTOPE). The groups I put beside these band members are the groups they played for or would play for in the future. The core lineup for this band had been together since mid 1968 and included Tippet of course on keyboards along with horn players Dean, Charig and Evans. The latter three played on SOFT MACHINE's "Third" the year before. In the liner notes it talks about how much fun these guys had recording these tracks. Keith says : "It was fantastic, everybody was leaping around, very happy. Not drunken...just merry. You can tell what it was like from the fade-outs; the tracks weren't faded for musical reasons, but because we never wanted to stop playing." These guys loved Free-Jazz, it gave them an opportunity to be creative and improvize without restrictions or boundries. All this can be felt here on this album.The album takes it's title from the great Hugh Hopper of course.

"This is What Happens" is so catchy. You can't help but bop around to this one. Drums and percussion as the horns blast away. Piano after 2 1/2 minutes as the horns back off. Not for long though as everybody joins in.The drumming here is relentless. "Thoughts To Geoff" has no real melody to start as horns, piano and drums come and go until 2 minutes in when we do get a melody. Nice bass lines after 4 minutes and the keyboards are fantstic. It's the bass / piano show 6 1/2 minutes in. Horns are back 8 minutes in wailing away. Intricate guitar from Boyle is back too.

"Green And Orange Night Park" is my favourite. Piano and drums to open as horns join in. This sounds so good when it settles and they start to jam. Amazing stuff. "Gridal Suite" opens with dissonant horns. Drums after a minute. Crazy tune. "Five After Dawn" features these screeching sounds. Horns take over before a minute. Chaotic 2 1/2 minutes in including some laughing. "Dedicated To You, But You Weren't Listening" is less then a minute of horns. "Black Horse" opens with drums as bass,guitar and horns join in quickly. Great sound. Guitar to the fore 2 1/2 minutes in. Nice. Horns are back.

Just a fantastic album ! If your into SOFT MACHINE's more experimental style of music you need to hear this.

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 Dedicated to You, But You Weren't Listening by TIPPETT GROUP, KEITH album cover Studio Album, 1971
4.30 | 46 ratings

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Dedicated to You, But You Weren't Listening
Keith Tippett Group Jazz Rock/Fusion

Review by stefro
Prog Reviewer

5 stars Up there with 'Elastic Rock' by Nucleus and Soft Machine's 'Third', The Keith Tippett Group's excellent 'Dedicated To You But You Weren't Listening' occupies the upper echelons of British jazz-fusion and is rightfully hailed as a classic album by fans and critics alike. No doubt one of many who was inspired by the superlative experimental sounds of American innovators Miles Davis, Tony Williams, Herbie Hanock et al, The Keith Tippett Group produced just two studio albums proper but, in the process, proved to be a breeding ground for many of the top young jazz talents of the time. As well as Tippett, 'Dedicated To You But You Weren't Listening' featured a quartet of soon-to-be Soft Machine-bound members in Robert Wyatt(drums), Marc Charig(cornet), Roy Babbington(bass) and Elton Dean(sax), as well as Nick Evans(trumbone), Jeff Clyne(bass), and Australian drummer Phil Howard who would eventually replace Wyatt in Soft Machine several years down the line. Considering the line-up on show, it's no surprise that this sophomore effort from the group has proved to be so popular. Unlike The Keith Tippett Group's debut, this follow-up is a much more radical affair which embraces the fusion furiosity of 'Bitches Brew'-style Miles Davis and the more progressive rock sounds that were eminating from both Britain and America. This is very much jazz-rock, but not quite fusion, as there is, on this album at least, a clear distinction between the two genre's despite the fact they are mixed so seemlessly. After 'Dedicated To You But You Weren't Listening' The Keith Tippett Group would head their separate ways, with Soft Machine the major benefactors and Tippett throwing himself headlong into the mammoth musical experiment of 'Centipede', another jazz-orientated group with King Crimson's Robert Fripp that would feature over 50 members. As is shown on the two Keith Tippett Group studio albums and the group-leader's later works, the dividing line between jazz and rock and experimentation and innovation can and will always be blurred, combining the rich beauty of the former and the raw energy of the latter into a truely unique and inspiring collage of sounds. Tippett was a true jazz pioneer and this album is a testament to his unnerving talent and his dedication to producing new and interesting sounds outside of the normal 'rock' spectrum. STEFAN TURNER, LONDON, 2010

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 Dedicated to You, But You Weren't Listening by TIPPETT GROUP, KEITH album cover Studio Album, 1971
4.30 | 46 ratings

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Dedicated to You, But You Weren't Listening
Keith Tippett Group Jazz Rock/Fusion

Review by Joćo Paulo

4 stars Nice Jazz Fusion album. We have in this music work ,lots of improvisation with piano, thrumpet and a liltle guitar parts, but the musical instrument pricipal in this album is to me the thrumpet. Absolute fusion atmosphere when drums work made by Robert Wyatt, and Phil Howard made the difference. Some answers, questions with piano and thrumpet, ( Cornet ) are absolute great. The piano improvisatiions are great to. The bass is in pure Jazz vein and very good play . The Sax improvisation is to me, the only that is not sincronized with the context of this work but made some fast parts with great quality. For all that like Jazz Fusion is a great album and a great adiction in Fusion collection. I give 4/5stars.

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 Blue print by TIPPETT GROUP, KEITH album cover Studio Album, 1972
2.87 | 4 ratings

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Blue print
Keith Tippett Group Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

3 stars The relation between King Crimson and Robert Fripp is always consubstantialities. It is a well-known fact. Robert Fripp always pulled King Crimson and it had band leader's role. However, a lot of opinions made that it is Ian McDonald to take charge of a lot of parts of the arrangement and the composition for the music character of King Crimson at the debut this time are asked to listener's opinion.

It destroys and it constructs it to music that King Crimson listened in the debut album exactly. Forward and classics. It is talked as a valuable album that contains the ideal and the reality. However, the ideal and thought as directionality of King Crimson at that time might always contain the part of the revolution and old and be advanced. Tried proceeded band to the next step has already been expressed by "In The Wake Of Poseidon" announced in 1970.

It is said that time when Robert Fripp met Keith Tippett is about 1970. It is said that both confirmed the goodness of a music character each other in "MARQUEE" to which King Crimson performed at that time. Keith Tippett requested the pursuit of the aimed music character of "You Are Here...I Am There" of the album of own group. The part where impression had been received for a music character each other appeared remarkably when "In The Wake Of Poseidon" was performed. It kept revolutionizing it with Music's pursuit in "Lizard" and ..King Crimson.. "Islands" afterwards. However, the fact where King Crimson has the element of Improvisation might not have been able to be made if there was no part of activity and the stimulation of Keith Tippett.

Keith Tippett to contribute to music with high quality in King Crimson has proceeded to the next step with the flow that builds the relation of trust with Robert Fripp. "Keith Tippett Group" of own group might have been established with an original methodology for the field of Jazz and Prog Rock of Britain at that time. And, the creation and the idea that Keith Tippett considers appear remarkably exactly in the work of this group at that time.

Keith Tippett that receives the flow from 1st album of the group that appoints Giorgio Gomelsky known on business of The Yardbirds and Magma and attempts the pursuit of own music character further pursues the development of the music character from "Centipede" further. The pursuit of the music character that arranges an indispensable musician in the field of Jazz/Prog Rock at that time has developed in "Dedicated to You,But You Weren't Listening". And, an original music character that contains the element of Jazz that Keith Tippett thinks about reflects the flow that splendidly exactly catches an age at that time in the work.

Robert Fripp that built the relation of trust was appointed to the producer and the recording was done in this album. And, the overwhelming might and the idea of this album have respect produced as a flow that contains the music character that Keith Tippett exactly creates enough. And, the musician who participated in the recording of the album might also be exactly contributing to the element of this album. The album of Soft Machine is Bass of Roy Babbington widely known. And, the idea that doesn't use the form of the drum. Those parts are done enough by Frank Perry and Keith Bailey. And, appointment and the activity of Julie Driscoll(Tippett) that builds both relations that public and private matters enhanced for Keith Tippett at that time might draw out the music character of this album enough. The element of order in addition to the flow as Free Jazz might exist, too, when talking about the part of the performance of Keith Tippett. The performance where not only an indecent part but also a variegated sound and expression of feelings are had both will offer the listener originality and the charm. It will be able to be said that the part with the performance to feel expression of feelings, thought, and the sense of beauty in addition to the ability to process the space because of the sound will expand the width of the music character of this group.

"Song" is a tune with the element that continues a complete, transparent feeling. The piano consistently continues a beautiful melody. The line of Bass has the action that lifts a piano melody. The performance of Keith Bailey to make good use of the bell and cymbals, etc. also splendidly consistently makes the atmosphere of the tune. The performance that completely processes the space has the flow that may be continued to the end of the tune. The flow that order and the improvisation are had both has succeeded as an idea.

The sound of the guitar that does the mute from the part that looks like the sound in which the glass is beaten twines round "Dance". The melody is done disorder it and has the part of abstract. It is a tune of which the element of the improvisation went out strongly. The scat of enchantment Julie Tippett also considerably contributes to the tune. The performance establishes one flow repeating the improvisation.

"Glimpse" is a tune of which the element of the improvisation went out. The piano and the percussion instrument create one space and reach the peak. It might be ..establishment of the percussion instrument in close relation to the sound of Bass to make good use of the bow.. ..contribution.. worthy. The tune pulls the part that flows further in the space by the group. I will be able to feel the part with expression of feelings and order in the flow of the improvisation.

As for "Blues I", the scat twines round the space that flows quietly. The processing of a consistent space continues the directionality of this album. An experimental element might be a strong tune. It advances as the guitar and the piano have dismantlement and construction.

"Woodcut" has completely decided the element of this album. The flow with the part of the improvisation is pulled by the piano and Recorder and starts. The flow that excludes the sound to the minimum has established an original flow as an idea. Recorder and the piano create the world of an original improvisation. The flow continues long time. The flow that completely processes the space will not advance as a flow of a simple improvisation though it reaches the peak at the end of the tune.

Mandolin of "Blues II" that Julie Tippett performs is impressive. Julie Tippett that played the guitar and Recorder might have contributed to this album very much. And, it had the role to expand the width of the entire composition. The sound of advanced disorder it Mandolin is continued and hurtles through space. The percussion instrument doesn't appear. However, one flow is drawn as a complete improvisation.

The idea to listen in this album one would be attempt and be challenge that Keith Tippett at that time created. And, music to listen in this album shifts further in the form of Trio and develops into "Overy Lodge".

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 Dedicated to You, But You Weren't Listening by TIPPETT GROUP, KEITH album cover Studio Album, 1971
4.30 | 46 ratings

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Dedicated to You, But You Weren't Listening
Keith Tippett Group Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

5 stars My interest to Keith Tippett came from two different sides: first, as to musician,who take a part in some great prog-albums recordings, and second, as for musician and husband of great singer of the era Julie Driscoll.

It's a first album of KTB for me. And I am not disappointed, not at all...

Great music, to be honest -more avant-jazz, than prog-rock. Absolutely perfect technigue, fantastic Elton Dean sax-solos. Yes, some moments are somewhere in the field of avant-jazz, but always on the border, never-too much.

It gives to the album that magic feeling - you are listening some great musiscians on their improvisation session, music is brave, complex, but you all the time catching, what happens. It is small miracle - as dancing on the edge of the blade. You are near missing it, but never really missing.

To be honest, sax/trombon solos are most impressive parts on this album for me ( not Tippet's piano). But all in all it's rare mix of something that lays between avant-jazz and prog, and the mix is fantasticaly successful!

For sure, don't expect something in KC style there! Generaly, this album is for modern-jazz lovers, or who that, who likes jazzy part in jazz-rock music of that time ( Soft Machine or some Gong albums).

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 Dedicated to You, But You Weren't Listening by TIPPETT GROUP, KEITH album cover Studio Album, 1971
4.30 | 46 ratings

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Dedicated to You, But You Weren't Listening
Keith Tippett Group Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars With an arresting artwork, depicting a brainchild, on its cover, the KTG managed to climb up from the Phillips generalist label to the Vertigo Swirl prestigious and progressive label, and I can't think of a better promotion. Line-up wise, Jeff Clyne shares the bass with Roy Babbington and the drums are shared between Wyatt, Brian springs and Phil Howard (who would go on to replace Wyatt in Soft Machine), but on the horns, the Dean/Charig/Evans trio remained. Please note the pun title is from Soft Machine's "Dedicated To Hugh..."

The album opens on a conga-driven groovy track that gets its inspiration between the three horn players, but in the background, Keith's piano is the one thing that makes this piece so rollicking. Followed up by the tough to grasp Thoughts To Geoff, a 10-mins corker that often veers dissonant and improvisational, which strangely enough becomes more fluid and melodic as it unravels. Even young Gary Boyle (out of auger's trinity) manages to follow this difficult track, which had to faded out to be stopped. In Green & Orange Night Park, McCoy Typpett then shows with all three horns holding the Trane in the station, until Elton pulls his best solo (I would almost add ever in such a fanboy moment) while the other two are providing a descending line behind him that slowly morphs into another lead line, which had to be terminated again by a fade-out. Absolutely flabbergasting and jaw-dropping piece.

The flipside starts on the most difficult Gridal Suite, an Elton Dean improvised piece that he shares well with Phil Howard (just think of side 1 of Soft Machine's 5 album), this track probably being the low point of the album. Five After Dawn might appear at first to be just as difficult, but it's not quite the same nature, this one is written and impressionist track, evoking early life movement after the dead of night. After your stupor segued into surprise, it should normally give into joy and eventually glee. The short but sweet reprise of SM's theme is only a wink, leading us to Black Horse, which is a bit the book- ending of the opening track (both tracks are written by trombonist Nick Evans, a very rhythmic groove with plenty of enthralling horn-section arrangements (a bit ala brass-rock), and it comes complete with a superb guitar solo from future Isotope Gary Boyle.

Not that this second album is that much better than their debut, but it grabbed all of the sunshine, shadowing all of the debut album, which consistently remains more difficult to find. Both are much worth the discovery and are excellent early UK jazz-rock

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Thanks to sean trane for the artist addition.

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